I tried to think about these two issues very freely. With sex, I think I can manage with that. With death, this is a more difficult theme for me. I'm not a believer, even though I'm baptized. I don't practice. I don't believe in God, so I feel very alone facing death. What I discovered is that the only way to recognize death is if you are part of life, if you are part of sexual pleasure, if you link it with sexual pleasure.

I'm really a nightmare for the fashion designer because I take away all of his authority, and I become the authority, and I turn him into my assistant. You could say I intervene, and I intervene in a very determining way in all the aspects that have to do with the visual construction of the film.

An ample arse helps you to be weighed down and be grounded.

It's a pity that I can never really enjoy my movies because, after the mixing, your capacity as a spectator just disappears. I have to think about what I felt just before the mixing.

Once we actually have the production script after many rewrites, at that point is when I start to decide what the look and colors will be. I work like a painter, even though I'm working in three dimensions. I'm working with chairs. I'm working with walls. But even things like the floor or the walls that people might think are not important, they actually do influence the visual look of the film. These are also things that I have to think about.

The silent film has a lot of meanings. The first part of the film is comic. It represents the burlesque feel of those silent films. But I think that the second part of the film is full of tenderness and emotion.

Hospitals are places that you have to stay in for a long time, even if you are a visitor. Time doesn't seem to pass in the same way in hospitals as it does in other places. Time seems to almost not exist in the same way as it does in other places.